Jacchus | Disney Wiki | Fandom powered by Wikia Fantasia He appears as Bacchus' pet, joining him in the wild revelry that accompanies the wine making the satyrs , centaurs , and centaurettes are engaged in. Like his master he is depicted as an unattractive but lovable and jovial fool, drunkenly dancing around with everyone and having a good time. When Zeus calls up a storm he and Bacchus are caught in the middle of it, tormented by the wind and his bolts of lightning. Both are washed away in a stream of wine when lightning strikes the grape tub they're hiding under, but forget the danger and merrily drink the wine they're sitting in. When the storm ends he and Bacchus toast Iris for coloring the wine in a beautiful rainbow pattern. Jacchus appeared with Bacchus in House of Mouse . Gallery The Disney Wiki has a collection of images and media related to Jacchus . Trivia Jacchus was not in the original myth. He was an independent creation of Disney and a parody of the unicorns that appear in the film as well.

Jacchus' name is basically Bacchus' name with a "J" replacing the "B". It also sounds similar to the insult/technical term for a donkey "Jackass." Jacchus is very similar in facial looks to Lampwick during the time the latter's head transforms into that of a donkey's until he completely transforms into one in which his head is now slightly more realistic. Bacchus (Fantasia) | Disney Wiki | Fandom powered by Wikia Fantasia He appears as the god of wine and parties, joining his pet donkey Jacchus in the wild revelry, or (as emcee Deems Taylor puts it) a bacchanal, that accompanies the wine making the satyrs , centaurs , and centaurettes are engaged in. Like his pet, he is depicted as an unattractive but lovable and jovial fool, drunkenly dancing around with everyone and having a good time. When Zeus calls up a storm, he and Jacchus are caught in the middle of it, tormented by the wind and his bolts of lightning.

Both are washed away in a stream of wine when lightning strikes the grape tub they are hiding under, but forget the danger and merrily drink the wine they are sitting in. When the storm ends, he and Jacchus toast Iris for coloring the wine in a beautiful rainbow pattern. The Great Disney Blogathon: Fantasia (1940) | Jess's (Somewhat) Grown-Up Type Blog Jess's (Somewhat) Grown-Up Type Blog The Great Disney Blogathon: Fantasia (1940) November 21, 2012 5 Comments Oh, Fantasia. Where do I even begin? Let’s see. Fantasia was a pet project for Walt, who viewed it as a new form of entertainment entirely, and was so attached to it that when the studio was forced to shorten it, he refused to do it himself because he loved it so much. It cost a bundle to make and is, for the most part, a tour de force of animation, chock full of innovation. However, it bombed in its initial release.

This was thanks in part to the war ( as we saw with Pinocchio ), but also because it had trouble finding an audience: classical music aficionados were offended by the way conductor Leopold Stokowski’s arrangements chopped up the original pieces, particularly Beethoven’s Pastoral Symphony, while ordinary folks thought the film too highbrow for their tastes. Also, it was originally released in only 13 cities due to its experimental “Fantasound” technology, which mimicked stereo and which most theaters couldn’t afford. Pro tip: when you only release your tremendously pricey film in 13 cities, you will lose money. However, this ugly duckling story has a happy ending: thanks to rereleases in the late 60s, the film suddenly found its niche among people who were totally high. Since then, Fantasia has become a beloved part of the Disney canon among sober and stoned people alike, and has more than made its initial cost back, as well as inspiring several attractions in the Disney parks and a sequel, Fantasia 2000, which we’ll get to in due course.

Okay, now that that’s out of the way, I’ll be honest: I put off reviewing this one for a while, because, well…I’m not a huge fan of Fantasia. I love stories, and words – lyrics and dialogue – and those are all pretty thin on the ground in this movie. What follows, then, are my highly biased accounts of the eight set pieces in the film; take with a grain of salt proportionate to your love of Fantasia. Toccata and Fugue in D Minor by Johann Sebastian Bach: This is an entirely abstract representation of the music. Remember how I said I need narrative and words to be engaged in something? This bores me to tears. As a kid I invariably fastforwarded through this one to get to… The Nutcracker Suite by Pyotr Ilyich Tchaikovsky: This is probably the most famous (at least to modern American audiences) music in the film, and the one with the most canonized visual representation, so it’s actually rather impressive that Disney managed to create an almost entirely separate version. On the other hand, they did so by chopping it up into distinct segments, some of which are more successful than others.

As a kid I liked this one because I loved any animation with pretty girls, and I still adore the dewdrop, autumn, and frost fairies, who are not only lovely, but part of some of the most beautiful animation in the film. The triumph, for me, is the changing leaves sequence, which makes you wonder how that music could ever be intended to convey anything but the melancholy grandeur of fall. On the other hand, I find the seedpod ladies to be kind of creepy. The dancing petals are also pretty boring, although there is one a simply exquisite moment where you see what initially looks like flowers floating upward until you realize that they are reflections of flowers falling from above, and the image becomes the flowers, their reflections, and the ripples on the water moving together. The other dancing vegetation/fungi in this sequence are anything but boring, but unfortunately that’s at the cost of being super problematic. The dancing thistles in the Russian Dance are the least troubling only by virtue of being giant honking stereotypes of white people.

The mushrooms, however, are drawn with squinty little eyes to make absolutely sure that you know they’re “Chinese,” as if the excessive bowing and conical “hats” didn’t get the point across. 1 The actual animation is admittedly super charming, but it can’t save the sequence. Finally, there’s the Arabian Dance, which combines The Nutcracker Suite’s twin themes of pretty girls (…ish) and ethnic stereotypes with a passel of sexy goldfish. As a child, I loved this section, because pretty girls! Pretty girl fish with pretty girl fish tails! Now I’m kind of put off by the extremely overt sexuality in this section. First of all, coming in the wake 2 of Pinocchio’s Cleo , I’m starting to worry why the Disney animators were so into seductively attractive lady goldfish. More importantly, the use of the admittedly impressively-animated translucent tails to suggest veils makes the “Arabian” aspect of this section pretty clear, and hey, you know what’s not cool? “Sexy harem dancer” stereotypes. 3 The Sorcerer’s Apprentice by Paul Dukas: Okay, here it goes: I think The Sorcerer’s Apprentice is just okay.

I know, I know, blasphemy! I don’t know what it is – maybe I just feel like it’s overexposed, maybe I like Mickey better playing off of Minnie or Donald – but I can’t help but find myself to be aggressively neutral on this short. That said, it’s of course a hugely important short, the most important one in the film, and an iconic moment for both Mickey and Disney as a whole. It was the first appearance of Mickey’s “new look,” with pupils, and helped shore up the Mouse’s fading popularity. It’s a big deal. Still, I prefer Donald’s turn in Fantasia 2000. (Though I have to admit, Mickey’s silhouetted conversation with Stokowski is incredibly cute, as is the fact that the orchestra gives Mickey a standing ovation.) Fun Fact #1: This short was originally supposed to star Dopey . Thank God it didn’t. Fun Fact #2: Any Disney buff worth his or her salt already knows this, but the sorcerer’s name is Yen Sid. Get it?

Rite of Spring by Igor Stravinsky: This might be the only instance of Disney making something less racist, as the original music was intended for “a simple series of tribal dances,” according to narrator and musicologist Deems Taylor. Instead, “It’s a coldly accurate reproduction of what science thinks went on during the first few billion years of this planet’s existence.” Or at least, you know, it’s trying to be, starting with Earth-as-molten-ball-of-lava and ending with the death of the dinosaurs. Unfortunately, 1940s paleontology was still pretty rudimentary; I don’t know anything about dinosaurs that I didn’t learn from The Land Before Time, and even I can tell that this is wildly inaccurate. I was also never much of a dinosaur fan as a kid, so this short has never held any particular appeal for me; aside from having no characters for me to latch onto, it’s extremely brutal 4 , and the end is weirdly anticlimactic. 5 Fun Fact: Stravinsky was alive when Fantasia was made, and hated it. P.S. I see you there, multiplane camera. Good job.

At this point, there’s an intermission, which is especially weird since by modern standards the movie isn’t that long (just about two hours). As the musicians return, they “improv” a little jazz, which I have to admit is my favorite music in the film. I guess I’m just a modern hepcat! Meet the Soundtrack: Here Deems Taylor introduces us to a shy little “character” called “The Soundtrack,” who looks like a glowing line at rest but who, when asked, can transform itself into a visual representation of sounds (big purple flares for the tuba, etc.). It’s cute enough, but I find myself longing for this sequence to be narrated by Ludwig von Drake. No one makes the metaphorical relationship between music and color as delightful as he does! The Pastoral Symphony by Ludwig van Beethoven: At the risk of exposing myself as a total philistine, this is by far my favorite part of Fantasia. By any technical argument, it’s the weakest segment: the music has been altered far more than any of the other pieces, and the animation is well below Disney’s usual standards and actively crude in parts. But it has actual characters! And little stories! And pretty girls!

And (rather butchered) Greek mythology, which I have been into from a very young age! When I rented Fantasia as a kid, because we didn’t own it, I would watch The Nutcracker Suite and The Sorcerer’s Apprentice and Dance of the Hours once each, then this one five or six times, then return it. Even so, Pastoral Symphony has its high points and its low points. The unicorns and satyrs are basically just filler, as far as I’m concerned, and the cherubs border on obnoxiously cloying, but the little black and white pegasus is an adorably klutzy Disney baby of the first order, even if his dad does look like the Mobil logo. Disney does cute better than any studio out there, and while much of this short toes the cute/cloying line a little too hard, the little pegasus hits it just right. The high point of the short, though, is the centaurettes. They are gorgeous pinup girls in the best Fred Moore style , and the sequence of them bedecking themselves with flora and fauna is incredibly charming.

6 (Watching this movie as a kid, I was a good 87% sure this was what adulthood would be like – just endlessly arranging live birds on my head to soft music.) By contrast, the centaurs are downright crude, with disproportionate arms and faces that are clear afterthoughts. But then, no one’s looking at the centaurs anyway. (Oh, and hey, speaking of what audiences are looking at – the centaurettes are totally topless when they first appear. They’re just drawn with small, nipple-less breasts – as are the fairies in The Nutcracker Suite – which are quickly covered with wreaths of flowers. Similarly, the cupids are not only naked, but a (terrible and vaguely icky) joke is made of it when one cupid’s bare bottom turns into a glowing heart as he watches a centaur and centaurette…um, do something. That wouldn’t fly today, nosirree!) Finally, there’s the Disneyfied bacchanal, with Bacchus himself (and his donkey Jacchus – GET IT???) presiding.

Bacchus’s over-the-top but somehow gentle drunkenness is the kind of humor that wouldn’t fly today, not just because alcoholism is no longer considered hilarious or fitting subject matter for kids, but because the actual humor of the scene is exceedingly tired. What’s interesting to me instead is how different Bacchus is from his fellow gods. Zeus and Vulcan 7 , while ridiculous, are also portrayed as cosmic beings, while Diana, Apollo, Iris, and Inexplicably Female Morpheus are regally unreal. Bacchus just seems like some dude on a donkey who is just as terrified of Zeus’s lightning bolts as the mortals. (Which, by the way, comes off like weird child abuse when you think about it.) It’d be interesting to know why that choice was made, but judging by the general carelessness with which the mythology is handled, I’d guess it was less of a statement vis à vis Bacchus’s relationship with mortals and more “a drunk guy falling off a tiny donkey is funny.” I would be remiss in not mentioning Sunflower and Otika, the black centaurettes who were cut from Fantasia in the 60s.

Mindlessly grinning servants to the other characters (Sunflower is first seen polishing a white centaurette’s hooves), they are drawn with the best bullshit stereotypes the 40s had to offer. Having seen the original footage, I can say that the movie is definitely better without them. 8 Less obviously racist – but still obviously racist, oh my God – are Bacchus’s zebra centaurette handmaidens, who are also black and dressed in stereotypical “African” accessories. They’re actually quite cute, but come on, Disney. Zebras are black people dripping with pseudo-African stereotypes and pastel horses – the “normal” characters – are thus understood to be white? Boy, I’m sure glad we’ve moved past that particular brand of racism! 9 Dance of the Hours by Amilcare Ponchielli: This is probably the second most iconic short in Fantasia after The Sorcerer’s Apprentice, and deservedly so, because it’s adorable. The ostriches are particularly cute, lining up and stretching like real ballerinas. And I absolutely love Hyacinth Hippo. She holds her lines like a champ, and you can tell she knows she’s hot.

10 For the most part I am untroubled by her relationship with Ben Ali Gator, 11 since it’s a clear pas de deux in which she is enthusiastically participating, but the raucous end of the short is rather troubling. The other gators are far more violent than Ben, yanking painfully on the elephants’ trunks and riding the ostriches while using their bows as makeshift reins that are clearly choking them, and it’s a disappointingly assault-y end to a short that is otherwise very charming and playful. Night on Bald Mountain by Modest Mussorgsky and Ave Maria by Franz Schubert: I found this short too terrifying to watch as a child. As an adult, Chernabog no longer strikes fear into my heart the way he used to, 12 so – another blasphemous statement – this short just doesn’t do much for me. The animation is fantastic and extraordinarily creative, but the chill just isn’t there. And the Ave Maria section, while lovely, is long. Enough already! Fun fact: The harpies have nipples! As does Chernabog. That’s how you know they’re evil. * So there you have it: Fantasia.

I apologize for the fact that this was so rambly and deeply idiosyncratic, but with a slew of anthologies coming up soon, I fear that’s how these posts will go through much of the 40s. Feel free to angrily tell me how wrong I am about Chernabog in the comments! * Did you know that the little one is named “Hop Low”? See, it sounds fakey Chinese, but it’s a hilarious pun! Uggggggggh. ↩ Ha! Water pun! ↩ Or, you know, stereotypes in general. ↩ Unless you think that dinosaurs being devoured alive, struggling futilely in tar pits, and dying of thirst is Good Clean Family Fun. ↩ Apparently it was supposed to continue to the Dawn of Man, but Disney decided not to so as to avoid offending the creationists any more than they already were. ↩ It’s very similar to a shorter scene with mermaids in Peter Pan – unsurprisingly, as Moore animated both. Or at least part of both – he was killed in a car accident during the making of Peter Pan. ↩ Trust me, the haphazard mixing of Greek and Roman names makes me just as crazy as it makes you.

↩ To any Disney historians who want to cry at me about “preserving the original art,” untwist your panties – the original footage is safe in the vault with Song of the South, and if you really want to track this stuff down as an adult, you can. Preserving original art < not preserving original racism, especially for the eyes of children. ↩ Protip: If you don’t want to spend your evening being disappointed in humanity, don’t Google “Sunflower and Otika.” Also, I usually praise the John Grant Encyclopedia of Disney Characters in these posts, but if you get it, skip the Fantasia section – aside from basic factual errors, he engages in racist apologism to a vile degree re: Sunflower and Otika. And everywhere else in the book. ↩ Mindy Aloff’s Hippo in a Tutu: Dancing in Disney Animation has a fascinating anecdote about Hattie Noel, the mostly-forgotten vaudeville, film, and radio star who did some of the live action modeling for Hyacinth.

While classical dancers Marge Champion and Tatiana Riabouchinska were the models for the ballet technique, Noel – plus-sized and African American – provided the physique as well as some touches of the lindy. Very little evidence survives of Noel’s participation, most of it oral, but Aloff does her best to reconstruct the context and determine whether Noel was treated like the talented performer she was or a source of ridicule. Sadly, Aloff is unable to draw a conclusion. ↩ Though that “ethnic” pun name coupled with his sexual aggressiveness is…problematic, to say the least. ↩ To me, the scariest Disney villain is Frollo because he’s so believable. Which is why I hate and fear that movie. But more on that when we get to it. ↩ 5 Responses to The Great Disney Blogathon: Fantasia (1940) I think my attention span usually ran out somewhere towards the beginning of Dance of the Hours. I’m not sure I even remember anything about Night on Bald Mountain. The Dinosaurs were my favourite though. Dinosaurs! I like Allegro Non Troppo better, on the whole.

Fantasia | Japanese Anime Wiki | Fandom powered by Wikia Edit Some of the works played in the film are program music; that is, instrumental music that depicts or suggests stories in sound. However, the Disney program is generally not the same as the original. This criticism was addressed in the film itself. The host and narrator of the film, Deems Taylor, introduces each piece in the program and gives background on the original intent of the composer. There is no intent to deceive anyone into thinking that the Disney visual accompaniment was the "original intent" of the composer. Some of the selections were shortened from their full length, for the sake of the film's running time. Of the eight pieces, four are presented virtually complete: Toccata and Fugue, The Sorcerer's Apprentice, the Dance of the Hours (which is actually expanded), and the Ave Maria. The Nutcracker Suite is shorn of its Miniature Overture and March, the twenty-five minute Rite of Spring (the longest segment in the film) is ten minutes shorter than the original thirty-five minute work, and the Pastoral Symphony segment is performed in a twenty-minute version rather than Beethoven's complete forty-minute original.

There are also small internal omissions in Night on Bald Mountain. Musical score: Johann Sebastian Bach – Toccata and Fugue in D Minor BWV 565 (Stokowski's own orchestration) Directed by Samuel Armstrong Background painting: Joe Stahley, John Hench, and Nino Carbe Visual development: Oskar Fischinger Animation: Cy Young, Art Palmer, Daniel MacManus, George Rowley, Edwin Aardal, Joshua Meador, and Cornett Wood Fantasia begins immediately (there are no opening credits or logos of any sort) with the curtains being opened to reveal an orchestra stand. Musicians are seen ascending the stand, taking their places, and tuning their instruments. Master of ceremonies Deems Taylor arrives and delivers an introduction to the film. Stokowski appears and begins conducting the first strains of his own orchestration of the Toccata and Fugue in D Minor, by Johann Sebastian Bach (originally written for solo organ). The first third of the Toccata and Fugue is in live-action, and features an orchestra playing the piece, illuminated by abstract light patterns set in time to the music and backed by stylized (and superimposed) shadows.

The first few parts of the piece are played in each of the three sound channels (first the right, then the left, then the middle, then all of them) as a demonstration of Fantasound. The number segues into an abstract animation piece—a first for the Disney studio—set in time to the music. Toccata and Fugue was inspired primarily by the work of German abstract animator Oskar Fischinger, who worked for a brief time on this segment. The animation segues back into the live-action footage of Stokowski as the piece concludes, setting the precedent for the rest of the musical numbers. Although the Philadelphia Orchestra recorded the music for the film (excepting The Sorcerer's Apprentice), they do not appear onscreen; the orchestra used onscreen in the film is made up of local Los Angeles musicians and Disney studio employees like James Macdonald and Paul J. Smith, who mime to the prerecorded tracks by Stokowski and the Philadelphia Orchestra. Originally, the Philadelphia Orchestra was slated to be filmed in the introduction and interstitial segments, but union and budgetary considerations prevented this from coming to pass.

Nutcracker Suite Story development: Sylvia Moberly-Holland, Norman Wright, Albert Heath, Bianca Majolie, and Graham Heid Character designs: John Walbridge, Elmer Plummer, and Ethel Kulsar Art direction: Robert Cormack, Al Zinnen, Curtiss D. Perkins, Arthur Byram, and Bruce Bushman Background painting: John Hench, Ethel Kulsar, and Nino Carbe Animation: Art Babbitt, Les Clark, Don Lusk, Cy Young, and Robert Stokes Choreography: Jules Engel The Nutcracker Suite, a selection of pieces from Tchaikovsky's now-classic ballet The Nutcracker, is a personified depiction of the changing of the seasons; first from summer to autumn, and then from autumn to winter. Unlike the original Tchaikovsky ballet, this version of The Nutcracker has no plot. It features a variety of dances, just as in the original, but danced by animated fairies, fish, flowers, mushrooms, and leaves; no actual nutcracker is ever seen in this version. Many elements are rendered carefully and painstakingly using techniques such as drybrush and airbrush.

The musical segments are as follows: As dawn breaks over a meadow, during the "Dance of the Sugar Plum Fairy", tiny fairies sprinkle drops of dew on every flower and stern. A cluster of tiny mushrooms, dressed in long robes and coolie hats resembling Chinese (plus one little mushroom always out-of-step), perform the "Chinese Dance". Multicolored blossoms shaped like ballerinas perform the "Dance of the Flutes". A school of underwater goldfish perform a graceful "Arab Dance". High-kicking thistles, dressed like Cossacks, and orchids, dressed like lovely Russian peasant girls, join together for the wild "Russian Dance". In the final musical segment, "Waltz of the Flowers", autumn fairies color everything they touch brown and gold with their wands. Then the frost fairies arrive and everything becomes part of an icy, jewellike pattern among falling snow flakes.

One quaint novelty of the full-length roadshow version of Fantasia is that, during his commentary on the Nutcracker Suite, Deems Taylor observes that the complete ballet The Nutcracker "is never performed anymore." The United States did not see a complete staging of the Nutcracker until 1944, four years after Fantasia, and George Balanchine's 1954 staging with the New York City Ballet established the modern tradition of performing the ballet at Christmas time. The Sourcer's Apprentice Story development: Perce Pearce and Carl Fallberg Art direction: Tom Codrick, Charles Phillipi, and Zack Schwartz Background painting: Claude Coats, Stan Spohn, Albert Dempster, and Eric Hansen Animation supervisors: Fred Moore and Vladimir Tytla Animation: Les Clark, Riley Thompson, Marvin Woodward, Preston Blair, Edward Love, Ugo D'Orsi, Wikipedia: George Rowley, and Cornett Wood Musical score: Paul Dukas – The Sorcerer's Apprentice Directed by James Algar The Sorcerer's Apprentice, perhaps the best-known Mickey Mouse short after his debut in Steamboat Willie (1928), was adapted from Goethe's poem "Der Zauberlehrling".

It is the story of wizard Yen Sid's ambitious, but lazy, assistant who attempts to work some of the magical feats of his master before he knows how to properly control them. Mickey plays the role of the apprentice. After the music ends, Mickey and conductor Leopold Stokowski, seen in silhouette, congratulate each other with a live-action/animation handshake. In the original roadshow version, after Mickey leaves, Deems Taylor and the musicians are seen applauding Mickey and Stokowski. The Rite of Spring Musical score: Igor Stravinsky – The Rite of Spring Directed by Bill Roberts and Paul Satterfield Story development/research: William Martin, Leo Thiele, Robert Sterner, and John Fraser McLeish Art direction: McLaren Stewart, Dick Kelsey, and John Hubley Background painting: Ed Starr, Brice Mack, and Edward Levitt Animation supervision: Wolfgang Reitherman and Joshua Meador Animation: Philip Duncan, John McManus, Paul Busch, Art Palmer, Don Tobin, Edwin Aardal, and Paul B.

Kossoff Special camera effects: Gail Papineau and Leonard Pickley Disney's imaginitive re-interpretation of the music to The Rite of Spring features a condensed version of the history of the Earth from the formation of the planet, to the first living creatures, to the age, reign, and extinction of the dinosaurs. The sequence showcased realistically animated prehistoric creatures including Tyrannosaurus rex, Dimetrodon, Parasaurolophus, Apatosaurus, Triceratops, Struthiomimus, and Stegosaurus, and used extensive and complicated special effects to depict volcanoes, boiling lava, and earthquakes. The large carnivorous dinosaur attacking the Stegosaurus is a villanous Tyrannosaurus rex according to the preliminary introduction to the segment by Deems Taylor, and concept sketches by the artists. Disney also changed the order of the movements in the piece. The segment, after beginning with the first, second and third movements, omits the fourth and reorders all the others. The Danse de la terre is placed near the end of the cartoon rather than midway through the work.

At the end, the orchestra replays the slow introduction to the Rite, which does not happen in the original work. (The original ends with a violent Sacrificial Dance - also omitted in the Disney version - and an orchestral crash.) The roadshow version of the film features a humorous moment omitted from the general release version. When Deems Taylor announces the title of the work, there is a sudden loud crash in the percussion section, and we see that the chimes player has accidentally fallen against his instrument. He sheepishly gets up, to the amused chuckling of Taylor and the other musicians. Intermission/meet the soundtrack Directed by Ben Sharpsteen and David D. Hand Key animation by Joshua Meador Deems Taylor announces a fifteen-minute intermission following the conclusion of The Rite of Spring. The musicians are seen departing the orchestra stand, and the doors close to reveal a title card. In a proper roadshow of Fantasia, the theater's curtains would close simultaneously with the closing doors on the screen, and the title card would remain projected for fifteen minutes while the guests are briefly excused. Following the intermission, the film would be started again.

Onscreen, the stage doors are opened again, and Taylor and the orchestra musicians are seen returning to their respective places. After the intermission there is a jam session of jazz music led by a clarinetist in the orchestra, followed immediately by the brief Meet the Soundtrack sequence which gives audiences a stylized example of how sound is rendered as waveforms to record the music for Fantasia. The sequence features animation by effects animator Joshua Meador and his team, who give the soundtrack (initially a squiggly line which changes into various shapes based upon the individual sounds played on the soundtrack) a distinct personality. The instruments are a harp, violin, flute, trumpet, bassoon, and percussion including the bass drum, snare drum, cymbals, and triangle. The Pastoral Symphony Musical score: Ludwig van Beethoven – Symphony No. 6 in F, Op.68 "Pastorale" Directed by Hamilton Luske, Jim Handley, and Ford Beebe Story development: Otto Englander, Webb Smith, Erdman Penner, Joseph Sabo, Bill Peet, and George Stallings Character designs: James Bodrero, John P. Miller, Lorna S.

Soderstrom Art direction: Hugh Hennesy, Kenneth Anderson, J. Gordon Legg, Herbert Ryman, Yale Gracey, and Lance Nolley Background painting: Claude Coats, Ray Huffine, W. Richard Anthony, Arthur Riley, Gerald Nevius, and Roy Forkum Animation supervision: Fred Moore, Ward Kimball, Eric Larson, Art Babbitt, Ollie Johnston, and Don Towsley Animation: Berny Wolf, Jack Campbell, Jack Bradbury, James Moore, Milt Neil, Bill Justice, John Elliotte,Walt Kelly, Don Lusk, Lynn Karp, Murray McClellan, Robert W. Youngquist, and Harry Hamsel The Pastoral Symphony utilized delicate color styling to depict a mythical ancient Greek world of centaurs, families of pegasi, the gods of Mount Olympus, fauns, cupids, and other legendary creatures and characters of classical mythology. It tells the story of the mythological creatures gathering for a festival to honour Bacchus, the god of wine riding his horned donkey, Jacchus, which is interrupted by Zeus, who decides to have a little fun by throwing lightning bolts at the attendees.

Disney originally intended to use Cydalise by Gabriel Piern as the music for the mythological section of the program. However, due to problems fitting the story to the music, the decision was made to abandon Cydalise for other music. This portion of the film was criticized for brief yet blatant nudity on the part of the female centaurs. Other criticisms center on the racial images of a female centaur servant named Sunflower, who is part African human, part donkey, and two attendants to Dionysus who are part African Amazons, part zebra. The servant has been excised from all prints in circulation since 1969 (often by the use of pan and zoom, so the scene doesn't focus on her), although the clip has recently turned up on various blogs and internet media. Dance of Hours Musical score: Amilcare Ponchielli – La Giaconda: Dance of the Hours Directed by T.

Hee and Norm Ferguson Character designs: Martin Provensen, James Bodrero, Duke Russell, Earl Hurd Art direction: Kendall O'Connor, Harold Doughty, and Ernest Nordli Background painting: Albert Dempster and Charles Conner Animation supervision: Norm Ferguson Animation: John Lounsbery, Howard Swift, Preston Blair, Hugh Fraser, Harvey Toombs, Norman Tate, Hicks Lokey, Art Elliott, Grant Simmons, Ray Patterson, and Franklin Grundeen. The dancers of the morning are represented by Madame Upanova and her ostrich students. The dancers of the daytime are represented by Hyacinth Hippo and her hippo servants. (For this section the piece is expanded by a modified and reorchestrated repetition of the "morning" music.) The dancers of the evening are represented by Elephanchine and her bubble-blowing elephant troupe. The dancers of the night are represented by Ben Ali Gator and his rival aligators. The finale sees the chaotic chase that ensues between all of the characters seen in the segment until they eventually decide to dance together.

Night of the Bald Mountain Musical score: Modest Mussorgsky – Night on Bald Mountain Franz Schubert – Ave 'Maria Story development: Campbell Grant, Arthur Heinemann, and Phil Dike Art direction: Kay Nielsen, Terrell Stapp, Charles Payzant and Thor Putnam Background painting: Merle Cox, Ray Lockrem, Robert Storms, and W. Richard Anthony Special English lyrics for Ave Maria by Rachel Field Choral director: Charles Henderson Animation: John McManus, William N. Shull, Robert W. Carlson, Jr., Lester Novros, and Don Patterson Special animation effects: Joshua Meador, Miles E. Pike, John F. Reed, and Daniel MacManus Special camera effects: Gail Papineau and Leonard Pickley The Night on Bald Mountain segment is a showcase for animator Bill Tytla, who gave the demon Chernabog a power and intensity rarely seen in Disney films.

The nocturnal Chernabog summons from their graves, empowered restless souls.The horror of the demons, ghosts, skeletons, fire women, monsterous imps, witches, harpies, and other evil creatures in Night on Bald Mountain comes to an abrupt end with the sound of the Angelus bell, which send Chernabog and his followers back into hiding, and the multiplane camera tracks away from Bald Mountain to reveal a line of faithful robed religious figures with lighted torches. The camera slowly follows them as they walk through the forest and ruins of a cathedral to the sounds of the Ave Maria. Fantasia was produced on a budget of $2,280,000, to which $400,000 - nearly a fifth of the budget - went to the musical recording techniques. Legacy Edit In 1980, the Los Angeles Times reported that animators Wolfgang Reitherman and Mel Shaw had begun work on Musicana, "an ambitious concept mixing jazz, classical music, myths, modern art and more, following the old Fantasia format.

" Animation historian Charles Solomon wrote that development took place between 1982 and 1983, which combined "ethnic tales from around the world with the music of the various countries". Proposed segments for the film included a battle between an ice god and a sun goddess set to Finlandia by Sibelius, one set in the Andes to the songs of Yma Sumac, and another featuring caricatures of Louis Armstrong and Ella Fitzgerald. The project was shelved in favor of Mickey's Christmas Carol. Roy E. Disney, the nephew of Walt, co-produced Fantasia 2000 which entered production in 1990 and features seven new segments performed by the Chicago Symphony Orchestra with conductor James Levine. The Sorcerer's Apprentice is the only segment retained from the original film. Fantasia 2000 premiered at Carnegie Hall on December 17, 1999 as part of a five-city live concert tour, followed by a four-month engagement in IMAX cinemas and a wide release in regular theatres, in 2000. Fantasia is parodied in A Corny Concerto, a Warner Bros. cartoon from 1943 of the Merrie Melodies series.

The short features Elmer Fudd in the role of Taylor, wearing his styled eyeglasses, who introduces two segments set to pieces by Johann Strauss (Tales from the Vienna Woods and the Blue Danube Waltz, both featuring Porky and Bugs and Daffy respectively). In 1976, Italian animator Bruno Bozzetto produced Allegro Non Troppo, a feature-length parody of Fantasia. Jerry Bruckheimer used the story of The Sorcerer's Apprentice as a basis for his eponymous fantasy-adventure film in 2010. The animated television series The Simpsons references Fantasia in a few episodes. Matt Groening, the creator of the franchise, expressed a wish to make a parody film named Simpstasia; it was never produced, partly because it would have been too difficult to write a feature-length script. In "Treehouse of Horror IV", director David Silverman had admired the animation in Night on Bald Mountain, and made the first appearance of Devil Flanders resemble Chernabog. The episode "Itchy & Scratchy Land" references The Sorcerer's Apprentice in a snippet titled "Scratchtasia" that features the music and several shots parodying it exactly.

Fantasia is also referenced in the animated series South Park in the episode "Chef's Chocolate Salty Balls", where Mr. Hankey dons a wizard outfit and drives out an independent film festival by summoning a wave of sewage, similar to Mickey's dream of summoning a storm in The Sorcerer's Apprentice. The Sorcerer's Hat is the icon of Disney's Hollywood Studios, one of the four theme parks located at Walt Disney World Resort. The structure is of the magic hat from The Sorcerer's Apprentice. Also located at the resort is Fantasia Gardens, a miniature golf course that integrates characters and objects from the film in each hole. The fireworks and water show Fantasmic! features scenes from The Sorcerer's Apprentice and other Fantasia segments on water projection screens, and involves the plot of Mickey as the apprentice doing battle with the Disney Villains. For the 20th anniversary of Disneyland Paris, Mickey will be depicted in a special version of his Sorcerer's Apprentice outfit. His friends will also wear similar outfits as well. In 1991, a side-scrolling eponymous video game developed by Infogrames was released for the Sega Mega Drive/Genesis system.

The player controls Mickey Mouse, who must find missing musical notes scattered across four elemental worlds based upon the film's segments. There are several film reel levels based on some of the movie's segments such as Sorcerer's Apprentice and Night on Bald Mountain that appear in the Epic Mickey games. Yen Sid and Chernabog also make cameo appearances in the games (Yen Sid narrates the openings and endings of the two games and served as the creator of the Wasteland. Chernabog appears as a painting in the first game and appears in the Night on Bald Mountain film reel levels in the second). The Disney/Square Enix crossover game series Kingdom Hearts features Chernabog as a boss in the first installment. The Night on Bald Mountain piece is played during the fight. Yen Sid appears frequently in the series beginning with Kingdom Hearts II, voiced in English by Corey Burton. Symphony of Sorcery, a world based on the movie, appears in Kingdom Hearts 3D: Dream Drop Distance. Like the Timeless River world in Kingdom Hearts II, it is featured as a period of Mickey Mouse's past. A music game based on the film, Fantasia: Music Evolved, is being developed by Harmonix in association with Disney Interactive.

The game, which is being developed for Xbox 360 and Xbox One, uses the Kinect device to put players in control of music in a manner similar to Harmonix' previous rhythm games, affecting the virtual environment and interactive objects within it. The game is based on licensed contemporary rock music such as Queen and Bruno Mars. Sorcerer Mickey is also a purchesable character for Disney Infinity. Trivia Edit This is the only Disney film to have an intermission. Famous internet critic Doug Walker (The Nostalgia Critic) claimed Fantasia to be his favorite Disney movie in the animated canon. Fantasia is the second Disney film out of the films in the animation canon to be preserved in the National Film Registry, having been preserved in 1990. The first being Snow White and the Seven Dwarfs (was preserved in 1989), the third being Pinocchio (was preserved in 1994) the fourth being Beauty and the Beast (was preserved in 2002) and the fifth being Bambi (was preserved in 2011). With a running time of one-hundred and twenty-five minutes, Fantasia is the longest of all the Disney animated features.

all information on Fantasia came from Disney's Fantasia Turns 70 Lydia Hutchinson | November 13, 2010 | 0 Comments On November 13, 1940, Walt Disney Productions premiered Fantasia at the Broadway Theatre in New York and introduced a whole new generation to classical music by pairing it with our favorite cartoon characters and filling our heads with visions of dancing hippos and yo-yoing flamingos. At that time is was a two-hour and 20 minute “road show” presented in the multi-track “Fantasound” that required the largest outlay of sound equipment that has been used commercially in a theater to date. In the process it left Disney in financial straits before it was picked up by RKO in 1941 for re-release as a drastically cut 81 minutes. The third feature-length animated film produced by Disney, Fantasia features eight animated segments set to classical music selections. The only dialogue is the introductions to each segment by composer and music critic Deems Taylor. For its 70th anniversary today, I thought it would be fun to relive a little of the joy Fantasia has provided us over all these years.

Toccata and Fugue in D Minor by Johann Sebastian Bach The first third of the Toccata and Fugue is in live-action, and features an orchestra playing the piece, illuminated by abstract light patterns set in time to the music and backed by stylized (and superimposed) shadows. The first few parts of the piece are played in each of the three sound channels (first the right, then the left, then the middle, then all of them) as a demonstration of Fantasound. The number segues into an abstract animation piece—a first for the Disney studio—set in time to the music. Toccata and Fugue was inspired primarily by the work of German abstract animator Oskar Fischinger, who worked for a brief time on this segment. The animation segues back into the live-action footage of Stokowski as the piece concludes, setting the precedent for the rest of the musical numbers. Although the Philadelphia Orchestra recorded the music for the film (except The Sorcerer’s Apprentice), they do not appear onscreen; the orchestra used onscreen in the film is made up of local Los Angeles musicians and Disney studio employees like James Macdonald and Paul J.

Smith, who mime to the prerecorded tracks by Stokowski and the Philadelphia Orchestra. Originally, the Philadelphia Orchestra was slated to be filmed in the introduction and interstitial segments, but union and budgetary considerations prevented it. Nutcracker Suite by Pyotr Ilyich Tchaikovsky The Nutcracker Suite, a selection of pieces from Tchaikovsky’s now-classic ballet The Nutcracker, is a personified depiction of the changing of the seasons; first from summer to autumn, and then from autumn to winter. Unlike the original Tchaikovsky ballet, this version of The Nutcracker has no plot. It features a variety of dances, just as in the original, but danced by animated fairies, fish, flowers, mushrooms, and leaves; no actual nutcracker is ever seen in this version. Many elements are rendered carefully and painstakingly using techniques such as drybrush and airbrush.

The Sorcerer’s Apprentice by Paul Dukas The Sorcerer’s Apprentice, perhaps the best-known Mickey Mouse short after his debut in Steamboat Willie (1928), was adapted from Goethe’s poem “Der Zauberlehrling.” It is the story of wizard Yen Sid’s ambitious, but lazy, assistant who attempts to work some of the magical feats of his master before he knows how to properly control them. Mickey plays the role of the apprentice. After the music ends, Mickey and conductor Leopold Stokowski, seen in silhouette, congratulate each other with a live-action/animation handshake. In the original roadshow version, after Mickey leaves, Deems Taylor and the musicians are seen applauding Mickey and Stokowski. The Rite of Spring by Igor Stravinsky Part 1: Genesis Disney’s imaginitive re-interpretation of the music to The Rite of Spring features a condensed version of the history of the Earth from the formation of the planet, to the first living creatures, to the age, reign, and extinction of the dinosaurs.

The Pastoral Symphony by Ludwig van Beethoven Part 1: The Pastoral Symphony utilized delicate color styling to depict a mythical ancient Greek world of centaurs, pegasi, the gods of Mount Olympus, fauns, cupids, and other legendary creatures and characters of classical mythology. It tells the story of the mythological creatures gathering for a festival to honor Bacchus, the god of wine riding his horned donkey, Jacchus, which is interrupted by Zeus, who decides to have a little fun by throwing lightning bolts at the attendees. Disney originally intended to use Cydalise by Gabriel Pierné as the music for the mythological section of the program. However, due to problems fitting the story to the music, the decision was made to abandon Cydalise for other music. Dance of the Hours by Amilcare Ponchielli The dancers of the morning are represented by Madame Upanova and her ostriches. The dancers of the daytime are represented by Hyacinth Hippo and her servants.

(For this section the piece is expanded by a modified and reorchestrated repetition of the “morning” music.) The dancers of the evening are represented by Elephanchine and her bubble-blowing elephant troupe. The dancers of the night are represented by Ben Ali Gator and his troop of alligators. The finale sees the chaotic chase that ensues between all of the characters seen in the segment until they eventually decide to dance together. The segment ends with the palace collapsing in on itself. Night on Bald Mountain by Modest Mussorgsky and Ave Maria by Franz Schubert This is the only animated segment in the film that blends two entirely separate musical compositions by two different composers. The Night on Bald Mountainsegment is a showcase for animator Bill Tytla, who gave the demon Chernabog a power and intensity rarely seen in Disney films. The nocturnal Chernabog summons from their graves empowered restless souls, until driven away by the sound of a church bell. Noted actor Béla Lugosi served as a live action model for Chernabog, and spent several days at the Disney studio, where he was filmed doing evil, demon-like poses for Tytla and his unit to use as a reference.

Tytla later deemed this reference material unsuitable and had studio colleague Wilfred Jackson perform in front of the cameras for the reference footage.

Question: Which Disney film features the Greek god Bacchus and his little pet donkey Jacchus?
Answer: Fantasia